REVIEW: I chose Les Misérables over State of Origin … I have no regrets

Queensland may have lost the footy, but those who picked French Revolution over rugby league scored the real win as Les Misérables: The Arena Spectacular roared to life in Brisbane.

LES MISERABLES THE ARENA SPECTACULAR. Photo: Daniel Boud

On Wednesday night, Brisbanites were forced to choose between two high-stakes battles: the Maroons taking on the Blues at Suncorp or a French Revolution roaring to life at the Brisbane Entertainment Centre.

In hindsight, those who chose to attend the opening night of Les Misérables: The Arena Spectacular made the far less heartbreaking call.

As the Maroons fell to New South Wales, more than 10,000 theatregoers were swept up in a production so grand and vocally charged, it eclipsed even Origin’s fiercest moments.

Running for one week only until Sunday, June 1, the arena spectacular landed in Brisbane with the force of a cannon blast.

Fresh from rave-reviewed seasons in Sydney and Melbourne, it hit its mark, judging by the standing ovation and visible tears on opening night.

Jean Valjean (Alfie Boe). Photo: Danny Kaan

Having experienced Les Misérables in just about every format — on stage, on screen, and on repeat via soundtrack — I was curious how the sweeping epic would fare in an arena.

Any doubt vanished within minutes.

Les Misérables: The Arena Spectacular was, in fact, exactly that … spectacular.

But, this isn’t your traditional Les Mis.

Theatrical detail has been stripped back to make room for scale, sound and spectacle.

With a roaring full orchestra positioned upstage behind the action and an All-Star international cast, this concert-style staging trades set pieces for vocal power, and it pays off.

At the centre of it all is Alfie Boe, reprising the role of Jean Valjean.

It’s the role that launched him into global musical theatre stardom after his performance in the 25th Anniversary Concert at the O2 back in 2010.

His voice is rich, expressive, and capable of silencing an arena.

In Bring Him Home, Boe doesn’t just hit the notes.

He pours every ounce of feeling into the song, creating a hush so complete you could hear hearts breaking.

He brings a rugged vulnerability to Valjean that makes even a venue as big as the Entertainment Centre feel unexpectedly intimate.

Javert (Michael Ball). Photograph: Danny Kaan

Then there’s Michael Ball as Javert, delivering a performance so commanding, so emotionally intelligent, it’s a masterclass in restraint and power.

Ball, who originated Marius in the 1985 West End production, now brings a world-weary gravitas to Valjean’s relentless pursuer.

His Stars is thunderous and resolute, yet heartbreakingly human.

Ball doesn’t just play the role, he inhabits it with the kind of depth that only decades in the business can bring. It’s a performance that lingers.

His real-life friendship with Boe adds a wonderful layer of chemistry.

What could easily have been just vocal sparring becomes something beautifully complementary.

Les Misérables ensemble. Photograph: Danny Kaan.

The cherry on top is Matt Lucas and our very own Marina Prior as the outrageously awful Thénardiers.

The crowd adored them, and rightly so.

Every time they hit the stage, the energy spiked. Their comedic timing, gleeful wickedness and chaotic chemistry were the perfect dose of levity in an otherwise emotionally bruising show.

Matt Lucas, Marina Prior: Photo: Daniel Boud

At the opposite end of the emotional spectrum, Jac Yarrow and Beatrice Penny-Touré shine as the wide-eyed lovers Marius and Cosette.

Penny-Touré’s vocals are especially remarkable.

Her voice floats effortlessly, bringing warmth and hope in every note.

Emily Bautista delivered a deeply soulful Éponine, with a voice so powerful it cuts straight through the chorus of revolution and heartbreak.

Mary-Jean Caldwell, stepping in as Fantine on opening night, brought true gravitas to I Dreamed a Dream. She was raw and resonant, with just the right amount of emotional crackle. It was one of the night’s quiet triumphs.

Beatrice Penny-Touré. Photo: Daniel Boud

Then there’s James D. Gish as Enjolras, who in a sea of talent, absolutely holds his own. Vocally commanding and emotionally locked in, his performance was so convincing that even without the full staging and drama of the barricades, the weight of his sacrifice still landed.

And little Gavroche? Played by Orlando Steiner, he was the cheekiest, cutest, most heart-melting thing to grace that stage. The audience fell head over heels for him every time he so much as breathed.

James D Gish. Photo: Daniel Boud

This arena production has already wowed audiences down South, so much so that several fans I spoke to on opening night had flown to Brisbane just to see it again. And honestly? I get it. I was so moved, I bought myself a second ticket to go back on Friday.

Yes, it’s trimmed. Yes, some scenes are more suggestive than staged. But this show doesn’t pretend to be a carbon copy of the full-scale production. Instead, it leans into the music, those emotional bangers we all know by heart, and delivers them with absolute conviction. From Empty Chairs and Empty Tables to Do You Hear the People Sing, every note hit its mark.

Upon exit, I asked a few fellow theatregoers to sum it up and the go-to responses were “Powerful” and “Moving.”

One woman just stared blankly and said, “I’m speechless”, and honestly, that might be the best review of all.

So if you’re even mildly considering it — go.

Tickets are still available (for now), and this is one experience you won’t want to miss.

You’ll laugh, you’ll cry, and like me, you might just find yourself coming back for more.